I first got wind of this from Renold Schilke and a little later, in
greater detail, from David Hickman (Summit Brass). Since then I've
heard
variations of this routine recommended by many people. I was reminded
of
it again again and given some perspective by Fred Sautter (Portland
Symphony)
at the recent NY Brass Conference.

The idea is to bend notes down from low C (Phase I), from G in staff
(Phase II), from 3rd space C (Phase III), etc. In small doses this kind
of thing may be a big help with your warming up. In larger doses, this
exercise builds strength, brings corners forward and relaxes center
pad,
changes aperture shape from elliptical toward round, fattens the tone,
and enhances ability to
adjust pitch.

Get comfortable and accurate with Phase I and II (see below) before
adding Phase III--anywhere from a few days to a few weeks for the lower
Phases.If/when you can play Phase VII (from high C), you have enough
strength
to play a controlled double C. Most people don't have the ambition,
time,
or perhaps ability to go past Phase V; but bending notes well that far
up is marvelous practice.

It is relatively easy to bend a note just short of half way down to
the next harmonic. Apparently few people can bend notes in the
remaining
range down to the next harmonic or up toward the next harmonic.
However,
I have heard a strong legit trpt player play an in-tune, open,
chromatic
scale from low C on up--incredibly strong and stable chops.

You may be able to play Phase I and most of Phase II well almost
immediately,
but practice them anyhow. You may prefer to start on Phase II and run
it
straight down into Phase I, thereby bending intervals for an 8va rather
than half an 8va. No matter how many Phases you master, start from the
beginning each day. So, over time, the exercises add up, thus
encouraging
you to abbreviate the lower Phases somewhat.

Phase I

1. Probably do a little warming up
first.
2. With regular fingering (0-2-0), slur low C down to low B and back
on one full breath. Make each note a half note at about quarter = 60.
CRESCENDO
slightly into the second note; decrescendo going back. Rest at least
two
beats. Hickman recommended playing these with usual fingerings first,
thus
doubling the length of the exercise. I assume the recommendation was
meant
to encourage people to play in tune with passable tone. Some players
think
they are doing the harder ones but are not in tune.
3. Using #2 as a model, repeat but hold the first note's fingering
(open in this case) for the entire little phrase. Make the second note
sound as good as you can. Rest at least two beats. I find that I play
best
when I think of singing the music; thinking of mechanics only makes me
sound worse/unhappy.
4. Repeat #3 but transpose it down to B -- second valve down for the
entire little phrase. Think of SINGING the music. Rest at least two
beats.
5. Do it from low Bb. Think of SINGING the music. Rest at least two
beats.
6. From low A. Think of SINGING. Rest at least two beats.
7. Etc on down through low Gb.
8. Repeat steps 2 through 7 but bend whole steps.
9. Repeat steps 2 through 7 but bend minor 3rds.
10. Repeat steps 2 through 7 but bend major 3rds.
11. Repeat steps 2 through 7 but bend perfect 4ths.
12. REST a few minutes.

1. With regular fingering (0-2-0), slur
G in staff down to F# and back
on one full breath. Make each note a half note at about quarter = 60.
CRESCENDO
into the second note; decrescendo going back. Rest at least two beats.
2. Using #1 as a model, repeat but hold the first note's fingering
for the entire little phrase. Make the second note sound as good as you
can. Think of SINGING the music, not mechanics. REST briefly after each
little phrase.
3. Repeat #2 but transpose it down to F#. Second valve down for the
entire little phrase. SING and REST.
4. Do it from F.
5. From E.
6. Etc. on down through Db.
7. Repeat steps 2 through 6 but bend whole steps.
8. Repeat steps 2 through 6 but bend minor 3rds--more difficult.
9. REST a few minutes.

To shorten Phase II, bend fewer portions.

Add Phase III in addition to the others:
As before, but from C in staff with half- and whole step bends only.
SING! REST.

To shorten Phase III, bend only one portion.

Phase IV (in addition to in addition to the others):
As before, but from E at top of staff with half- and whole step bends.
SING! REST. Whole steps are more difficult here.

To shorten Phase IV, bend only one portion.

Add Phase V in addition to the others:
As before but from G above staff with half-step bends only. SING! REST.

Add Phase VI in addition to the others:
As before but from open Bb above staff. SING! REST.

Add Phase VII (hey, heh, heh) in addition to the others:
As before, but from high C. SING! REST.

I don't teach anymore and don't play much, but, nevertheless, I
will
appreciate your suggestions for improving this routine. Feel free to
reproduce, alter it, and make it your own.